workshop in acoustic and architecture

7/27/2019 Workshop in Acoustic and Architecture

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Workshop ObjectivesThis workshop will raise the students awareness of thepossibility to design with sound. The workshop is intended to

help the student build their theoretical knowledge pertainingthe field of aural architecture. The students will develop anability to formulate cohesive theoretical propositions, whichwill be demonstrated both visually and verbally.

This workshop aims at providing the students with criticalknowledge regarding the aural dimension of architecture.SOUND and the way we listen to a space, i.e. how weexperience it acoustically, is an essential and undervalued partof the design process and of experiencing architecture.

The design issues related to the concept of LISTENINGTOANARCHITECTURALSPACE will be discussed from both historical andtheoretical points of view, improving the students ability tothink critically on these issues. Case studies which enlightenthe way in which sound characterizes built space, will bediscussed covering a broad-spectrum of architectural historyup to the modern and contemporary period.

Workshop DescriptionThe workshop will provide an introduction to the engineering

and physics of sound focusing particularly on the production ofsound within enclosed space, addressing questions of soundcontrol in buildings, the property of materials in relationship tosound absorption / reflection, and noise control. Acousticmeasurements and instrumentation will also be discussed.

During the course of the workshop the students will be askedto design a piece of aural architecture starting from ananalysis of a piece of music which will be randomly assigned.The design process starts with an analysis of the musical pieceand composer musical theory. The question is then to design

an architectural space, which will allow experiencing thatmusical composition. The students are asked to make a designproposition based on their imagination of where the piece isbeing played and for what event. The design will be developedthrough acoustic models, drawings, writings, etc.

Design Method: Designing from the parts to the whole


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The students will be asked to design from the details to thewhole reversing the more traditional design approach wheredetails are the last step in a process where the starting point isthe organization of the overall space, i.e. the drawing of aplan. This approach is based on the idea that the quality of a

design lies in the production of good architectural details.

Details are much more than subordinate elements; they canbe regarded as the minimal units of signification in thearchitectural production of meaning. These units have beensingled out in spatial cells or in elements of composition, inmodules or in measures, in the alternating of void and solid, orin the relationship between inside and outside. The suggestionthat the detail is the minimal unit of production is more fruitfulbecause of the double-faced role of technology, which unifies

the tangible and the intangible of architecture.

Marco Frascari, The Tell-Tale Detail 1984

The employment of this design method allows us to explorethe role of details as generators of architectural meaning. Thestudents will be asked to design a selected number of the keyarchitectural details of the building undergoing renewal.

Week 1. Sept 11th

Introduction to the WorkshopIntroduction to the concept of aural architectureWorkshop philosophy and methodsListening to space (i.e. sensing space through listening)Itl. Sentire / to listen and to feel

Required Readings #1

Ch. 2 Fundamentals (pp. 27-35) in: Charles Salter.Acoustics, Architecture, Engineering, the Environment,William Stout Publishers, San Francisco, 1998.

Calvino, Italo. Under the Jaguar Sun. Little Storiesabout Sound, Harvest Book, 1990.

Week 2. Sept 18th Sound Architecture and theArchitecture of Sound

The engineering and physics of soundAcoustic properties of materialsReflection of Sound RaysReverberations and EchoesSound Absorption


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Operational SoundsArchitectural Acoustics versus Aural architecture /Measuring acoustic parameters versus feeling space

Introduction to the semesters assignment:Design of a piece of aural architecture based on a

musical piece from the following list. The pieces willbe assigned randomly.- Luigi Nonos Prometeo1984- Edgar Vareses "Poem Electronique," premiered

at the World's Fair 1958- Arnold Schonbergs Transfigured night 1899- John Cages Euroceras 3 & 4 (commissioned by

the Almeida Music Festival and Modus VivandiFoundation in 1990)

- Antonio Vivaldi, Le Quattro stagioni, four violinconcertos, 1723 (Baroque music)

- Johann Sebastian Bach: Mass in B Minor(1749)(Baroque era)

- Wolfgang Mozart: Don Giovanni (1787) (Baroqueera)

- Giuseppe Verdi: La Traviata (1853) Opera- Benjamin Britten: Turn Of The Screw (1954)- Gianfrancesco Malipiero: Torneo Notturno

(1929)- Gustav Mahler: Symphony 10 (1911)- Anton Webern: String Trio Opus 20 (1927)- Iannis Xenakis: Metastasis (1954)

AssignmentResearch and documentation:

The students are asked to listen to andresearch the musical piece andcomposer theory assigned. The researchshould investigate also aspectspertaining the aural architecture ofspaces appropriate to the performanceof that musical piece, with particularattention to materials used, geometryand dimensions.

Listening to space:Makeup of a Soundscape notebook

The students are asked to documentthroughout the semester theirexperience of particular soundscapes inenclosed spaces through vertical andhorizontal drawings sections. Throughthe notebook the students will analyzeand learn to represent visually aural-


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architecture by documenting theiracoustic experience of space. Yourvisual recording of the aural experiencecan be documented by making notes ofspace measurements, building materialsand architectural details, and a verbal

description of the perceivedsounds/space.

REQUIRED READINGS

Baumann Dorothea. Geometrical Analysis ofAcoustical Conditions in San Marco and San GiorgioMaggiore (pp. 117-143) in Moretti. Architettura eMusica nella Venzia del Rinascimento, ConvegnoInternazionale, Bruno Mondadori, 2006. (Chapter on theBasilica of Saint Mark)

Salter, Charles. Acoustics, Architecture, Engineering,the Environment, William Stout, 1998 (Chapter 6: Room

Acoustics)

Week 3. Sept 25th Room AcousticAnechoicChamberDesign criteriaBasic Principles of room acoustics: reflected sound,diffusion, echoes, reverberation

AssignmentDefine your design statement and buildingsprogram. Research the Soundscape of theselected building program and define your ownsoundscape by discovering its keynote sounds,signals and soundmarks.

Choice of building programs:Private homeLibraryBathhouseMonastery / Contemplation space / Sacred

space

Reading Assignment:

Murray Shafer. The Soundscape, Destini Books,1977. (pp. 7-10; 205-262)

Week 4. Oct 2nd SoundscapesChurch acousticsAuditorium Acoustics

AssignmentSketches / Drawings of the proposed design


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(vertical and horizontal sections)Required ReadingsVitruvius part on theater design

Week 5. Oct 16th Acoustic Drawings and ModelsDrawing Acoustics: notational systemsGeometrical Room AcousticsAnalogical Architectural Models for Acoustics:

Water ripple modelsLight beam MethodSynesthesia and acoustics

Readings:Assignment

The students are asked to model the key auralspace of their design (model scale 1:50) and test itwith the water ripple method

Week 6. Oct 23rd 1st review of overall design

Pin Up of the design work and presentation of designresearch and statement

Week 7. Oct 30th Wired senses

Synesthesia: the wiring of vision and soundMulti-sensory seeing (Blesse, Barry 2006 p.49)Echolocation: seeing in the dark

Week 8. Nov 6th Acoustical Design

In class desk crits

Week 9. Nov 13th Acoustical design

In class desk crits


In class desk crits


In class desk crits

Week 12. Dec 4th? Final review of projects

Final Pin up and presentation of drawings


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General Bibliography

Ackerman, Diane. A Natural History of the Senses, Vintage Books,1990.Alberti, Leon Battista. On the Art of Building in Ten Books,translated by Joseph Rykwert, Neil Leach, Robert Tavernor, MIT Press,

1997.Alton Everest, Frederick. Master Handbook of Acoustics, McGrawHill, 2000.Bandur, Markus. Aesthetics of Total Serialism: ContemporaryResearch from Music to Architecture, Birkhauser, 2001.Belton, John & Elisabeth Weis, eds. Film Sound: Theory andPractice. New York: Columbia University Press, 1985.Beranek, Leo. Concert Halls and Opera Houses: Music, Acoustics,and Architecture, Springer, 2003.Behnke, Elizabeth A.Toward a Description of Integral Atonality,Integrative Explorations, inJournal of Culture and Consciousness,Feb. 1993, v. 1, n.1, pp.1-15.Bernsen, Jens. Sound in Design, Danish Design Center, 1999.Blesser, Barry & Linda-Ruth Salter. Spaces Speak, Are youlistening?, The MIT Press, 2007.Brooks Christopher N. Architectural Acoustics, Mc Farlan &Company Publishers, 2003.Brougher, Kerry, Jeremy Strick, Ari Wiseman, Judith Zilczer,Visual Music: Synaesthesia in Art and Music Since 1900.

http://www.hirshhorn.si.edu/visualmusic/Bull, Michael & Les Back.The Auditory Cultural Reader, Berg,2003.Burnett, C., Fend M., Gouk P.The Second Sense: Studies inHearing and Musical Judgement from Antiquity to the SeventeenthCentury, London, University of London, 1991.Cage, John. Silence: Lectures and Writings, Middletown, Conn.:Wesleyan University Press, 1961.Calvino, Italo. Under the Jaguar Sun. Little Stories about Sound,Harvest Book, 1990.Cavanaugh, William. Architectural Acoustics, Principles andPractice, John Wiley & Sons. Available online at:http://books.google.com/books?id=365ITBehrZAC&pg=PA63&ots=h3pWPfRTlP&dq=architectural+material+acoustics&sig=Ky-hauYZb8hhkPyk0bmMBJNp7Oc#PPA327,M1

Chion, Michel. Audio-Vision, Columbia University press, 1994.Classen, C. Worlds of Sense: Exploring the senses in History andAcross Cultures. New York, Routledge, 1993.Cox, Trevor & Peter DAntonio. Acoustics Absorbers and Diffusers:

Theory, Design and Application, Taylor & Francis, 2004.Cytowic, Richard. Synesthesia, A Union of the Senses, Springler-Verlag, 1989.De Benedectis, Angela Ida & Veniero Rizzardi. Nono, Luigi.Scritti e colloqui, Milano, Ricordi-Lim, Milano, 2001.
http://www.hirshhorn.si.edu/visualmusic/http://books.google.com/books?id=365ITBehrZAC&pg=PA63&ots=h3pWPfRTlP&dq=architectural+material+acoustics&sig=Ky-hauYZb8hhkPyk0bmMBJNp7Oc#PPA327,M1http://books.google.com/books?id=365ITBehrZAC&pg=PA63&ots=h3pWPfRTlP&dq=architectural+material+acoustics&sig=Ky-hauYZb8hhkPyk0bmMBJNp7Oc#PPA327,M1http://books.google.com/books?id=365ITBehrZAC&pg=PA63&ots=h3pWPfRTlP&dq=architectural+material+acoustics&sig=Ky-hauYZb8hhkPyk0bmMBJNp7Oc#PPA327,M1http://books.google.com/books?id=365ITBehrZAC&pg=PA63&ots=h3pWPfRTlP&dq=architectural+material+acoustics&sig=Ky-hauYZb8hhkPyk0bmMBJNp7Oc#PPA327,M1http://www.hirshhorn.si.edu/visualmusic/http://books.google.com/books?id=365ITBehrZAC&pg=PA63&ots=h3pWPfRTlP&dq=architectural+material+acoustics&sig=Ky-hauYZb8hhkPyk0bmMBJNp7Oc#PPA327,M1http://books.google.com/books?id=365ITBehrZAC&pg=PA63&ots=h3pWPfRTlP&dq=architectural+material+acoustics&sig=Ky-hauYZb8hhkPyk0bmMBJNp7Oc#PPA327,M1http://books.google.com/books?id=365ITBehrZAC&pg=PA63&ots=h3pWPfRTlP&dq=architectural+material+acoustics&sig=Ky-hauYZb8hhkPyk0bmMBJNp7Oc#PPA327,M1


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Frascari, Marco. Architectural Synaestesia: A Hypothesis on themakeup of Scarpa Modernist Architectural Darwings. Availableonlilne at :http://art3idea.psu.edu/synesthesia/documents/synesthesia_frascari.htmlForsyth, Michael. Buildings for Music, Mit Press, 1985.

Forsyth, Michael. Auditoria, Designing for the performing Arts, VanNostrand Reinhold, 1987.Goffi, Federica. Carlo Scarpa and the Eternal Canvas of Silence, in

ARQ, vol. 10, n. 3/4, 2006 pp. 291-300.http://journals.cambridge.org/download.php?file=%2FARQ%2FARQ10_3-4%2FS135913550600039Xa.pdf&code=85bf533c721eddd15695a37a3d8fa71fHoward, Deborah and LauraHauser, M.The Evolution of Communication, Cambridge, MIT press,1977.Hunt, Frederick. Origins in Acoustics: The Science of Sound fromAntiquity to the Age of Newton, Yale University Press, 1978.

Hawkes, Dean.Thawing Goethe: Musical Connections, in ScroopeEighteen, Cambridge Architectural Journal, pp. 74-83.Ihde, Don. Listening and Voice. A Phenomenology of Sound, OhioUniversity press, 1976.Kandinsky, Wassily. Sounds. New Haven: Yale University Press,1981.Kish, D. Echolocation: How humans can see without sight, (2001).Available at: https://www.worldaccessfortheblind.org/thesis.txtKish, D. and Bleier H. Echolocation: what it is and how it can betaught and learned. Available at:http://www.tiresias.org/research/publications/kish.htmLeitner, Bernard. Sound:Space, Cantz Verlag, 1998.Levin, Flora R. The Manual of Harmonics of Nicomachus thePythagorean, Phanes Press, 1993.Long, Marshall. Architectural Acoustics, Academic Press, 2006.Lord, Peter & Duncan Templeton. Detailing for Acoustics,Taylor& Francis, 1995.Martin, Elizabeth. Architecture as a Translation of Music, Princeton,1994.Moretti. Architettura e Musica nella Venzia del Rinascimento,Convegno Internazionale, Bruno Mondadori, 2006.Meyer-Baer, Kathi. Music of the Spheres and the Dance of Death,Studies in musical Iconology, Princeton University Press, 1970.Merleau-Ponti, Maurice. Phenomenology of Perception, Routledge,1962.Merleau-Ponti, Maurice.The Visible and the Invisible,Northwestern University Press, 1968.Mille, Olivier.Archipel Luigi Nono, (SW3, Artline Production/La Sept)1988. [Archivio Luigi Nono, VHS call number: 25-1].Jaworski, Adam. Silence: Interdisciplinary perspectives, de Gruyter,1997.Pallasma, Juhani. The eyes of the skin, Architecture and the senses,
http://art3idea.psu.edu/synesthesia/documents/synesthesia_frascari.htmlhttp://art3idea.psu.edu/synesthesia/documents/synesthesia_frascari.htmlhttp://journals.cambridge.org/download.php?file=%2FARQ%2FARQ10_3-4%2FS135913550600039Xa.pdf&code=85bf533c721eddd15695a37a3d8fa71fhttp://journals.cambridge.org/download.php?file=%2FARQ%2FARQ10_3-4%2FS135913550600039Xa.pdf&code=85bf533c721eddd15695a37a3d8fa71fhttp://journals.cambridge.org/download.php?file=%2FARQ%2FARQ10_3-4%2FS135913550600039Xa.pdf&code=85bf533c721eddd15695a37a3d8fa71fhttp://journals.cambridge.org/download.php?file=%2FARQ%2FARQ10_3-4%2FS135913550600039Xa.pdf&code=85bf533c721eddd15695a37a3d8fa71fhttps://www.worldaccessfortheblind.org/thesis.txthttp://www.tiresias.org/research/publications/kish.htmhttp://art3idea.psu.edu/synesthesia/documents/synesthesia_frascari.htmlhttp://art3idea.psu.edu/synesthesia/documents/synesthesia_frascari.htmlhttp://journals.cambridge.org/download.php?file=%2FARQ%2FARQ10_3-4%2FS135913550600039Xa.pdf&code=85bf533c721eddd15695a37a3d8fa71fhttp://journals.cambridge.org/download.php?file=%2FARQ%2FARQ10_3-4%2FS135913550600039Xa.pdf&code=85bf533c721eddd15695a37a3d8fa71fhttp://journals.cambridge.org/download.php?file=%2FARQ%2FARQ10_3-4%2FS135913550600039Xa.pdf&code=85bf533c721eddd15695a37a3d8fa71fhttps://www.worldaccessfortheblind.org/thesis.txthttp://www.tiresias.org/research/publications/kish.htm


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John Wiley & Sons Ltd., 2005Petrilli, Amedeo. Acustica e Architettura, Spazio Suono Armonia inLe Corbusier, Marsilio, 2001.Plack, Christopher.The sense of Hearing, Lawrence ErlbaumAssociates Publishers, London, 2005.Rasmussen, Steen Eiler. Experienceing Architecture, chapter X:

Hearing Architecture, MIT Press, 1959. Available online at:http://books.google.com/books?id=pZ50MeEQRAoC&pg=PA225&dq=architectural+material+acoustics&sig=ya59w1UvebHJnYfCizR-fPlkXOg#PPP1,M1Renzo Piano Building Workshop. Architecture & Music, Sevensites for music from the Ircam in Paris to the Auditorium in Rome,Edizioni Lybra Immagine, 2002.Rindel, Jens Holger, Modeling in Auditorium Acoustics, from Ripple

Tank and Scale Models to Computer Simulation, Available at:http://www.odeon.dk/pdf/Sevilla_2002_Rindel-8p.pdf, Accessed:August 7, 2007.Sacks, Oliver.The minds eye: What the blind see, in New Yorker,

July 28, 2003 pp. 48-59.Shafer, Murray.The Tuning of the World, Random House,1977.Smith, Mark Michael. Hearing History, A Reader, University ofGeorgia Press, 2004.Stein, Barry, Meredith M.The merging of the senses, MIT Press,1993.Stein, Barry.The handbook of multisensory processing, MIT Press,2004.Tati, Jacques. Play Time 1967.Thompson, Emily.The Soundscape of Modernity, MIT, 2002.Available online at: http://books.google.com/books?id=7jvtvGbatv4C&pg=PA209&ots=NA1ryfbEmE&dq=architectural+material+acoustics&sig=unw4olmp29sv9fd9eWTQb2W5dxs#PPA146,M1Treib, Marc. Space Calculated in Seconds, Princeton UniversityPress, 1996.Varese, E. Spatial Music, in: E. Schwartz and B. Childs,Contemporary Composers on Contemporary Music, Da Capo Press,1998.Veit, Erlmann. Hearing Cultures: Essays on Sound, Listening andModernity, Berg Publishers, 2004.Vergo Peter. That Divine Order, Music and the Visual Arts fromAntiquity to the Eighteenth Century, Phaidon Press, 2005.Vitruvius. De Architectura, The Ten Books on Architecture, DoverPublications, 1960.Wolvin, Andrew and Carolyn Gwynn Coakley. Perspectives onListening, Ablex Publishing Corporation, 1993.Zuckerkandl, Victor.Sound and symbol, Music and the externalworld, Princeton University Press, Princeton, 1969 [1956].Zvonar, Richard. A history of Spatial music, Available at:http://www.zvonar.com/writing/spatial_music/History.html
http://books.google.com/books?id=pZ50MeEQRAoC&pg=PA225&dq=architectural+material+acoustics&sig=ya59w1UvebHJnYfCizR-fPlkXOg#PPP1,M1http://books.google.com/books?id=pZ50MeEQRAoC&pg=PA225&dq=architectural+material+acoustics&sig=ya59w1UvebHJnYfCizR-fPlkXOg#PPP1,M1http://books.google.com/books?id=pZ50MeEQRAoC&pg=PA225&dq=architectural+material+acoustics&sig=ya59w1UvebHJnYfCizR-fPlkXOg#PPP1,M1http://www.odeon.dk/pdf/Sevilla_2002_Rindel-8p.pdfhttp://books.google.com/books?id=7jvtvGbatv4C&pg=PA209&ots=NA1ryfbEmE&dq=architectural+material+acoustics&sig=unw4olmp29sv9fd9eWTQb2W5dxs#PPA146,M1http://books.google.com/books?id=7jvtvGbatv4C&pg=PA209&ots=NA1ryfbEmE&dq=architectural+material+acoustics&sig=unw4olmp29sv9fd9eWTQb2W5dxs#PPA146,M1http://books.google.com/books?id=7jvtvGbatv4C&pg=PA209&ots=NA1ryfbEmE&dq=architectural+material+acoustics&sig=unw4olmp29sv9fd9eWTQb2W5dxs#PPA146,M1http://books.google.com/books?id=7jvtvGbatv4C&pg=PA209&ots=NA1ryfbEmE&dq=architectural+material+acoustics&sig=unw4olmp29sv9fd9eWTQb2W5dxs#PPA146,M1http://www.zvonar.com/writing/spatial_music/History.htmlhttp://books.google.com/books?id=pZ50MeEQRAoC&pg=PA225&dq=architectural+material+acoustics&sig=ya59w1UvebHJnYfCizR-fPlkXOg#PPP1,M1http://books.google.com/books?id=pZ50MeEQRAoC&pg=PA225&dq=architectural+material+acoustics&sig=ya59w1UvebHJnYfCizR-fPlkXOg#PPP1,M1http://books.google.com/books?id=pZ50MeEQRAoC&pg=PA225&dq=architectural+material+acoustics&sig=ya59w1UvebHJnYfCizR-fPlkXOg#PPP1,M1http://www.odeon.dk/pdf/Sevilla_2002_Rindel-8p.pdfhttp://books.google.com/books?id=7jvtvGbatv4C&pg=PA209&ots=NA1ryfbEmE&dq=architectural+material+acoustics&sig=unw4olmp29sv9fd9eWTQb2W5dxs#PPA146,M1http://books.google.com/books?id=7jvtvGbatv4C&pg=PA209&ots=NA1ryfbEmE&dq=architectural+material+acoustics&sig=unw4olmp29sv9fd9eWTQb2W5dxs#PPA146,M1http://books.google.com/books?id=7jvtvGbatv4C&pg=PA209&ots=NA1ryfbEmE&dq=architectural+material+acoustics&sig=unw4olmp29sv9fd9eWTQb2W5dxs#PPA146,M1http://www.zvonar.com/writing/spatial_music/History.html


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Bibliography on Building Materials:Acoustic insulation materials:http://www.alibaba.com/showroom/Acoustic_Insulation_Material.htmlArad, Ron. Metal: Materials for inspirational design, Rotovision,2004.Bell, Victoria Ballard. Materials for design, Princeton Architectural

press, 2006.Beylerian, George M., & Andrew Dent. Material ConneXion: theglobal resource of new and innovative materials for architects,artists, designers. John Wiley& Sons., New Jersey, 2005.Brookes Alan J. and Dominique Poole. Innovation inarchitecture, London ; New York : Spon Press, 2004.Brownell, Blaine.Transmaterial, Princeton Architectural Press,1999.Ford, Edward. The Details of Modern Architecture, vol. 1, vol. 2, TheMIT Press, 1990.Kaltenbach, Frank. Translucent Materials: glass, plastics, metals,2004.

Leatherbarrow, David. The roots of architectural invention: site,enclosure, materials, Cambridge University Press, 1993.Lefteri Chris. Wood: Materials for inspirational design, Rotovision,2004.Lefteri Chris. Plastic: Materials for inspirational design, Rotovision,2004.Lefteri Chris. Plastics 2: Materials for inspirational design,Rotovision, 2004.Lefteri Chris. Ceramics: Materials for inspirational design,Rotovision, 2004.Lupton, Ellen. Skin. Surface, substance and design, PrincetonArchitectural press, 2002.Materio. Material World 2: Innovative Materials for Architecture andDesign, Birkhauser, 2007.McQuaid, Matilda. Extreme Textiles: Designing for HighPerformance, Princeton Architectural press, New York, 2005.Mori, Toshiko. Immaterial/Ultramaterial : architecture, design, andmaterialsBraziller, 2002.Riera Ojeda, Oscar. Materials, Gloucester, Mass. : Rockport ,c2003.Weston, Richard. Materials, Form and Architecture, Yale UniverisytPress, 2003.

Workshop GradingFor the grade in the A range, the instructor will have judgedthe student to have satisfied the stated objectives of the coursein an outstanding to excellent manner; for the B range, in anabove average manner; for the C range, in an averagemanner with C- being the lowest acceptable grade in the
http://www.alibaba.com/showroom/Acoustic_Insulation_Material.htmlhttp://www.alibaba.com/showroom/Acoustic_Insulation_Material.html


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Programs Core courses; for the D range, in the lowestacceptable manner in non-Core courses, and for F, not tohave satisfied the stated objectives of the course. Grades willbe assigned as A+ (90-100%), A (85-89%), A- (80-84%), B+(77-79%), B (73-76%), B- (70-72%), C+ (67-69%), C (63-66%),

C- (60-62%), D+ (57-59%), D (53-56%), D- (50-52%), F (0-49%)and ABS. A grade of C- or better in each course of theArchitecture Core is required for a student to remain in GoodStanding. (Please refer to the Calendar (page 56) forregulations concerning grades, appeals and other programrequirement information.)

Each grade will be based upon a comparison (1) with otherstudents in the course and/or (2) with students who havepreviously taken the course and/or (3) with the instructorsexpectations relative to the stated objectives of the course,

based on his/her experience and expertise.

Readings and participation in class discussion 15%Research on musical precedent, analysis and presentation 15%Soundscape notebook 15%Project (drawings, models, writing, presentation):1st pin up 25%2nd and final pin up 35%

Student ConductPlease refer to page 61 of the 2007-2008 Undergraduate

Calendar for specific information regarding Student Conductand Academic Integrity standards.

Academic Accommodations for studentsYou may need special arrangements to meet your academicobligations during the term because of disability, pregnancy orreligious obligations. Please review the course outline promptlyand write to me with any requests for academicaccommodation during the first two weeks of class, or as soonas possible after the need for accommodation is known to exist.

It takes time to review and consider each request individually,and to arrange for accommodations where appropriate. Pleasemake sure you respect these timelines particularly for in-classtests, midterms and final exams, as well as any change in duedates for papers.

You can visit the Equity Services website to view the policies


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and to obtain more detailed information on academicaccommodation at http://carleton.ca/equity/accomodation

ACCESSIBILITYStudents with disabilities requiring academic accommodations

in this course are encouraged to contact a coordinator at thePaul Menton Centre for Students with Disabilities to completethe necessary letter of accommodation. After registering withthe PMC, make an appointment to meet and discuss your needswith me at least two weeks prior to the first in-class test ormidterm exam. This is necessary in order to ensure sufficienttime to make the necessary arrangements. Please note thefollowing deadlines for submitting completed forms to the PaulMenton Centre: November 9th for fall and fall/winter courses,and March 14th for winter term courses.

ACCREDITATION AND PROFESSIONAL EXPERIENCECarletons B.A.S./M.Arch. Programme is reviewed foraccreditation by the Canadian Architectural Certification Board.This status undergoes continual review in order that theuniversity program provides the minimum standards forprofessional licensure. With this in mind, aspects of thiscourses objectives and approach integrate some of the 37"Student Performance Criteria" set by the CACB. The mostrecent edition of the "Guide to Student Performance Criteria" isavailable from the main office.

On Studio and, where appropriate, Workshop course outlines,the following, in addition to the above, should appear on courseoutlines:

Studio projects will be evaluated on the (1) strength of designconcept/concepts, (2) development and articulation of theconcept according to the objectives set forth in the projectassignment, and (3) the clarity, craft and completeness of thework submitted at the hand-in deadline.

Spray painting with aerosol spray paints, fixatives and

adhesives will not be accepted on ANY student work. Studentwork using aerosol spray paints, fixatives, and adhesives willnot be evaluated.

All extension cords should be CSA approved. Extension cordsthat do not meet CSA standards will be confiscated.

RETENTION OF WORK(from University Undergraduate
http://carleton.ca/equity/accomodationhttp://carleton.ca/equity/accomodation


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Calendar, page 85)Keeping a good portfolio is a most important part ofarchitectural education. A portfolio represents a record of thestudents progress and design experience over the years. It isan indispensable requirement for any job application in the

future. A portfolio is started in first year and continues toexpand until graduation. The School, therefore, requires thateach student produce reductions (normally 8 x 11 inchreproductions, colour or black and white, slides, and/or digitalformat CD) of their work at the end of each term. One copy ofthe work should be put in the students portfolio and the otherturned in to the instructor for retention in the Schools archives.(This facilitates retrospective exhibitions of work, accreditation,publications and any future references for pedagogicpurposes.) Original work is the property of the students, butthe School retains the right to keep work of merit for up to two

years after the date of submission. The School will make everyeffort to preserve the work in good condition, and will giveauthorship credit and take care of its proper use.

Health and Safety Regulations for the School ofArchitecture. No Smoking No Flammable or Combustible Solvents, Paints,Gases or other Products No Aerosol or Pressurized Containers No Power Tools No

Soldering No Bicycles No Open

Flames No Toxic Chemicals Avoid Creating Tripping Hazards

Avoid Creating Fire Hazards

Keep Aisles, Walkways, Corridors, Doorways, Stairwells andFire Hose Cabinets clear at all times. Avoid Working Alone After Hours Avoid Creating ExcessiveDust and Noise

In Case of Emergency, Dial Extension 4444 from any Studiophone.

First Aid is available in the Main Office (Room 202) or Workshop

(Room 220) between the hours of 8:30 a.m. and 4:30 p.m.Monday to Friday. First Aid Kits are available throughout theSchool.

workshop in acoustic and architecture

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